Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Colombia and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Henry Cow to the jazz kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sound Behaviour. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Visage,
Gregory Isaacs,
Gary Puckett & The Union Gap,
Eve St. Jones,
the Fania All-Stars,
The Flesh Eaters,
The Buckinghams,
The Sound,
Kenny Larkin,
Avey Tare & Kría Brekkan,
Cybotron,
Orchestral Manoeuvres in the Dark,
London Community Gospel Choir,
Pierre Henry,
Max Romeo,
Theoretical Girls,
8 Eyed Spy,
Tears for Fears,
The Gun Club,
Section 25,
Popol Vuh,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
Bill Wells,
The Count Five,
Pantytec,
Wighnomy Brothers & Robag Wruhme,
Echo & the Bunnymen,
China Crisis,
Sunsets and Hearts,
Royal Trux,
Easy Going,
Khruangbin,
Rufus Thomas,
Mr. Review,
Rowland S Howard / Lydia Lunch,
The Fugs,
Chris & Cosey,
Lebanon Hanover,
The American Breed,
Michelle Simonal,
Josef K,
Half Japanese,
Ultra Naté,
Man Parrish,
Negative Approach,
Stiv Bators,
F. McDonald,
Vladislav Delay,
Kauko Röyhkä ja Narttu,
Brand Nubian,
Dennis Brown,
Fad Gadget,
Dave Gahan,
Los Fastidios,
Nils Olav,
Jawbox,
The Shadows of Knight,
Vainqueur,
Ituana, Ituana, Ituana, Ituana.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.